Editing New Objectivity (section)

{{Short description|1920s German art movement against expressionism}}
{{For|the architectural aspects of this movement|New Objectivity (architecture)}}
[[Image:Made in Germany by George Grosz 1920.jpg|thumb|''Made in Germany'' (''{{lang|de|Den macht uns keiner nach}}''), by George Grosz, drawn in pen 1919, photo-lithograph published 1920 in the portfolio ''God with us'' (''{{lang|de|Gott mit Uns}}''). Sheet 48.3&nbsp;×&nbsp;39.1 cm. In the collection of the [[Museum of Modern Art|MoMA]], New York.]]
The '''New Objectivity''' (in {{langx|de|'''Neue Sachlichkeit'''}}) was a movement in German art that arose during the 1920s as a reaction against [[German Expressionism|expressionism]]. The term was coined by [[Gustav Friedrich Hartlaub]], the director of the ''[[Kunsthalle Mannheim|Kunsthalle]]'' in [[Mannheim]], who used it as the title of an art exhibition staged in 1925 to showcase artists who were working in a [[Post-expressionism|post-expressionist]] spirit.<ref name="Crockett1" /> 
As these artists—who included [[Max Beckmann]], [[Otto Dix]], [[George Grosz]], [[Christian Schad]], [[Rudolf Schlichter]], [[Georg Scholz]] and [[Jeanne Mammen]]—rejected the self-involvement and romantic longings of the expressionists, Weimar intellectuals in general made a call to arms for public collaboration, engagement, and rejection of romantic idealism.

Although principally describing a tendency in German painting, the term took a life of its own and came to characterize the attitude of public life in Weimar Germany as well as the art, literature, music, and architecture created to adapt to it. Rather than some goal of philosophical objectivity, it was meant to imply a turn towards practical engagement with the world—an all-business attitude, understood by Germans as intrinsically American.<ref name="Crockett1" />

The movement essentially ended in 1933 with the end of the [[Weimar Republic]] and the beginning of the [[Nazi]] dictatorship.